Peter Johnstone International Organ Quartet: Resistance Is Futile (self-released)
The rare combination of Hammond organ and vibraphone is the surprise factor of a notable project by pianist and organist Peter Johnstone. Johnstone, a longstanding member of the Scottish Jazz Orchestra, blends his organ with the sophisticated sounds of veteran New York vibraphonist Joe Locke, not to mention the kinetic saxophone style of fellow Scotsman, Tommy Smith.
Refreshingly, Johnstone plays the organ like an instrument that engages with its partners on equal terms, moving through challenging themes with command and verve. His rapport with the continuously creative Locke is striking – witness, for instance, his tasteful voicing of the lullaby-ish When You Were Born. Mostly, Johnstone’s compositions get into an alluring avant-groove, climaxing with the sizzling modal piece Beyond Everything, which is set on fire by the flamethrowing Tommy Smith.
As the album finale, I would’ve preferred the spontaneous, peaceful ending of The Riddler above The Four Horsemen, which, regardless of high quality, is progressive organ-jazz on repeat. Either way, Peter Johnstone has hit a bull’s eye and convincingly establishes himself between luminaries Larry Goldings and John Medeski.
Deborah Silver: Basie Rocks! (Green Hill 6599)
Singer Deborah Silver goes for the big score. Basie Rocks, her collaboration with the Count Basie Orchestra led by Scotty Barnhart, recruits at least an equal amount of “stars” as the average Beyoncé album, boasting the presence of Kurt Elling, Peter Frampton, Trombone Shorty and George Coleman, among others.
Silver diligently works her way through the song book of the Rolling Stones, Paul McCartney, Joe Walsh, Sting and Elton John. The latter’s Benny And The Jets is a particularly strong example of the blend between Silver’s full-bodied voice and Scotty Barnhart’s excellent Count Basie Orchestra. It’s a neat arrangement full of playful secondary motives and call-and-response patterns. Zestful Silver, here, is on her own, teasing blue notes like a rowdy pupil calling the teacher’s bluff after the second warning.
Silver’s the star of the show – no small feat – though buoyant Arturo Sandoval on trumpet and classy Bill Frisell on guitar (the latter delivering a western-swing tinged solo gem on Steve Miller’s Fly Like An Eagle) threaten to steal it, adding to the charm of a quite enjoyable release.
Jake Herzog: Ozark Concerto
Guitarist Jake Herzog refers to the works of Kurt Rosenwinkel and Pat Metheny as major influences of his ambitious Ozark Concerto, though specifically mentions outside inspiration in the surprising guise of rock band U2’s The Edge. Indeed, Herzog’s dynamic Part I is bookended by a repetitive strain that is reminiscent of The Edge’s percussive, echo-laden style. At the same time, it brings to mind Robert Fripp. If I may go into detail, as a matter of fact Frippisms can be found at other places, notably when Herzog places his tranquil minimalist theme of Part VII immediately after its bombastic sounds of cinematic jazz, to surprising effect.
Part I is a modern classical piece with a jazz feeling, in this instance the feeling of a fat-bottomed big band. The final Part VII’s soft-hued folklore swells up to a Rachmaninovian roar. In between these anthemic works, there are various intriguing pieces, linking brass with elaborate guitar lines, and string quartet with classical-guitar picking. Muted trumpet, trombone and saxophone chime in flexibly throughout the album.
The slight similarities in Herzog’s melodic guitar patterns provide the coherence of his guitar concerto. When it veers towards symphonic rock-ish bombast, this reviewer’s attention drifts elsewhere. But this takes nothing away from an original and strong-willed effort from Herzog that perfectly fits the roster of the cutting-edge Zoho label.
